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Home , Judith Anderson, Man with a Movie Camera

Illustrations

1. Long shot of Flora, The Birth of a Nation 10 2. Image of a fence in the frame showing Gus, a black man about to pursue a young white woman, The Birth of a Nation 12 3. Close-up of Gus, The Birth of a Nation 14 4. Flora through Gus’s eyes, The Birth of a Nation 15 5. An extreme long shot of the people running down the Steps, The 29 6. A big close-up of a pair of legs, The Battleship Potemkin 29 7. The purposeful, organized movement of the soldiers, The Battleship Potemkin 30 8. The chaotic, disorganized movements of the victims, The Battleship Potemkin 30 9. A boy’s body creates a graphic conflict with the line of the steps, The Battleship Potemkin 31 10. A woman carrying a wounded child ascends the steps, her body casting a shadow, The Battleship Potemkin 35 11. Soldiers’ bodies cast their shadows on the woman and child, The Battleship Potemkin 35 12. Cesare, shortly before he collapses in exhaustion, The Cabinet of Dr. Caligari 38

ix x ILLUSTRATIONS

13. Buildings lean, bend, or rear straight up, The Cabinet of Dr. Caligari 39 14. Emil Jannings in a medium close-up from slightly below, The Last Laugh 41 15. Emil Jannings photographed from a high angle, The Last Laugh 42 16. From the doorman’s point of view, the neighbor woman’s face grotesquely elongated, The Last Laugh 43 17. Images of the hotel dining room merge with images of the doorman’s tenement neighborhood, The Last Laugh 46 18. The city created through special effects—the use of model shots and forced perspective, The Last Laugh 47 19. Charlie Chaplin in a long shot that is part of one unbroken take, The Adventurer 54 20. Charlie Chaplin in a gag that works because of the tight framing of the shot, The Adventurer 56 21. The jaunty hat with the matching zigzag design of her suit defines Rosalind Russell’s character as a dynamic and powerful woman, His Girl Friday 65 22. The distorted image of the nurse, 82 23. Young Charles Kane playing outside the window in one of the most poignant moments in film, Citizen Kane 87 24. Close-up of Susan Alexander, Citizen Kane 88 25. Reverse shot of Kane, Citizen Kane 89 26. Long lap dissolve of the young Kane’s face on the snow- covered sled, Citizen Kane 90 27. Extreme low-angle shot emphasizing Kane’s demented, unbalanced grandiosity, Citizen Kane 93 28. In Open City, the priest, Don Pietro, witnesses Man- freddi’s torture 102 29. Intimate morning scene viewed through an open window, The Bicycle Thief 109 30. Gigantic statues of heroic, idealized athletes on the stadium walls, The Bicycle Thief 111 31. Image of parked bicycles, The Bicycle Thief 111 32. From Ricci’s point of view, a lone, unattended bicycle, The Bicycle Thief 112 33. Ricci abruptly turns away from temptation, The Bicycle Thief 113 34. Ricci’s about-face, The Bicycle Thief 113 ILLUSTRATIONS xi

35. Bruno has taken his father’s hand, The Bicycle Thief 118 36. Antoine’s face framed by a segment of the imprisoning grid pattern, The 400 Blows 128 37. Children’s faces: the magical time when they still express what they feel, The 400 Blows 129 38. The letters f-i-n, superimposed over Antoine’s frozen face, The 400 Blows 132 39. Mrs. Whittaker (Violet Farebrother), Easy Virtue 138 40. Mrs. Danvers (Judith Anderson), 138 41. Madame Sebastian (Leopoldine Konstantin), Notorious 139 42. Mrs. Bates (Tony Perkins), Psycho 139 43. Mrs. Brenner (), The Birds 139 44. Merging of the shadows of Sebastian () and his mother, Notorious 143 45. A deep-focus shot of Alicia (), Notorious 146 46. Alicia in a tight medium-close shot, the background out of focus, Notorious 146 47. The shadow on the door indicates Sebastian’s menace, Notorious 147 48. Sebastian’s shadow looms larger, Notorious 148 49. A subjective shot of the key, Notorious 149 50. Guido enclosed by the high walls of the schoolyard, 8 1/2 161 51. Guido encircled by the arm of a looming statue of a church dignitary, 8 1/2 161 52. Everything about Saraghina is exposed to the elements, 8 1/2 162 53. The long black robes of the priests, incongruous against the landscape of the beach, 8 1/2 162 54. Guido’s mother sits by the portrait of a little boy wearing a halo, 8 1/2 163 55. The statue of the virgin merges with the image of Saraghina’s blockhouse, 8 1/2 164 56. A more angelic than devilish Saraghina, 8 1/2 165 57. The camera frames four priests sitting in a row, 8 1/2 168 58. The priests in a new location, the far corner of the room, 8 1/2 168 59. Final shot of the sequence, the priests positioned as before, 8 1/2 169 xii ILLUSTRATIONS

60. Woody Allen seems to be speaking as himself directly to the film audience, Annie Hall 180 61. The house where Alvy grew up, Annie Hall 184 62. Annie as a sexy wicked queen in Snow White, Annie Hall 186 63. reading Alvy’s play are seen reflected in a mirror, Annie Hall 188 64. Ernest Dickerson’s big close-up of Radio Raheem’s face, Do the Right Thing 199 65. Radio Raheem’s feet off the ground, Do the Right Thing 205 66. The man stands, fully clothed, gazing at the woman in the shower, Coma 212 67. Scantily clad chorus girls perform suggestive dances, The Gang’s All Here 214 68. Polly’s appearance counters the way heroines look in mainstream films, I’ve Heard the Mermaids Singing 222 69. A video camera hidden inside a TV monitor is placed where the head should be on the bust of a nude woman, I’ve Heard the Mermaids Singing 223 70. Polly peering beyond the edge of the monitor frame, I’ve Heard the Mermaids Singing 225 71. Homage to ’s The Man with a Movie Camera in I’ve Heard the Mermaids Singing 226 72. Shot from The Man with a Movie Camera 226 73. Images on four screens, Timecode 235 74. Upper right quadrant: a composite image of two women, Timecode 237 75. Jake contrasted against the exaggerated depth of the space shuttle, Avatar 247 76. Jake leaps off a cliff in overlapping shots, Avatar 250, 251